Everything in Time is a global soul record bringing back a low-end theory and warmth thatʼs been absent in music as of late. Itʼs a record for a generation raised on a foundation of hip hop and jazz, but grown with a broader musical palate. Itʼs roots music without being reggae, and soul music without being a throw back to the past.

As the songs unfold on Everything in Time, youʼre enveloped in lush piano chords, warm bass lines, boom-bap drum patterns, flying tambourines, and soaring horns. The guests DJ Center chose for his album are the perfect marriage to every song. The record features everyone from favorites like Oddisee and Zaki Ibrahim to the up-and-coming Gretchen Parlato (whoʼs worked with Herbie Hancock, Wayne Shorter and Esperanza Spalding) and Samia Farah (whoʼs dub reggae and jazz vocal styles give her a rare, distinctive sound).

The icing on the cake is the remix of “Tout Passe” (CD only) contributed by the incredibly talented Waajeed of The Platinum Pied Pipers. The underlying essence of this record is timeless music. Listen unhurriedly, as all great things happen in time.

On February 9th DJ Center drops the full length Everything in Time, a global soul record bringing back a low-end theory and warmth that has been absent in music as of late. The album’s cast features the newest artists impacting the industry and shining at the top of their respective genres, like Oddisee, Renee Neufville, Samia Farah, Zaki Ibrahim, & Gretchen Parlato. Listen unhurriedly, as all great things happen in time.

Born in Vancouver, BC and raised between South Africa and Canada’s West Coast, Zaki Ibrahim spent her life moving between two culturally diverse worlds, culminating in her debut album, Eclectica (Episodes In Purple). Her music is captivating and vibrant, thick with poetics and steeped in a delicious mixture of earnest emotion and social commentary.

In addition to collaborating with famed DJ/producer King Britt on “Money,” Zaki worked with Nick Holder on “Love/Like.” Zaki explains that on “Love/Like” she, “wanted a different sound and the harmonies somehow reminded me of water. I had never worked with water instruments before, like a Rainstick and the Udu, and it brought an ancestral/tribal tinge to the song.”